An die Nachtigall. Ludwig Christoph Heinrich Hölty. Geuß nicht so laut der liebentflammten Lieder. Tonreichen Schall. Vom Blütenast des Apfelbaums hernieder. Brahms’s settings of the Hölty poems An die Nachtigall and Die Mainacht have unjustly eclipsed Schubert’s songs to the same texts. It is not hard to understand. Johannes Brahms. Songs (4) for voice & piano, Op. Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on. facebook.
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4 Lieder, Op (Brahms, Johannes) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music
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This type of eighteen-century Living Poets’ Society was against rationalism and convention. There is something in his genial and gentle work, ambivalent in both joy and sadness, which perfectly matches Schubert’s own temperament. The poet himself died young from tuberculosis.
Then sleep once more shuns this bed, and I stare, moist-eyed, drawn and deathly pale, at the heavens. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
Don’t show me this message again. An die Nachtigall, D First line:. It is not hard to understand the popularity of the Brahms works, rich in sentiment and romantic nostalgia, but the two composers were aiming at completely different things.
We should be grateful for such accomplished diversity in the Lied. Schubert had chosen to set the poems strophically, and Brahms who knew his Schubert very well offered a deliberately different durchkomponiert solution.
Brahms’s An die Nachtigall is meditative and lyrical, Schubert’s much more urgent, on the wing and a-flutter; as if it is a matter of life and death that the nightingale’s painfully evocative song should be silenced. The song nachtitall marked ‘Restless, plaintive. Growing in tempo until the end of each verse’.
Neither fish nor fowl, the wide-ranging vocal line is an outburst of melody with the peremptory flexibility of recitative. The accompaniment is no less inventive.
Liederabend – SV16 – An die Nachtigall
In the first half of each verse, the harmonies seem arbitrary and thus appropriately distracted: One is irresistibly reminded of the mad Lisztian outbursts, in the key of F sharp minor this song’s original tonalityin the slow movement of the A major Piano Sonata, D Of course it could also be that in this warbling rush of notes Schubert is attempting to depict, in a manner pre-dating Messaien, the actual song of the nightingale as he heard it.
Elly Ameling sopranoGraham Johnson piano. Do not pour out so loudly the sonorous strains of passionate love-songs from the blossom-covered boughs of the apple tree, O nightingale!
The singing from your sweet throat awakens love in me; for already your melting sighs pierce the depths of my soul.
Click track numbers above to select. The Hyperion Schubert Edition, Vol.